After 1960s London and ’70s Italy, Zuhair Murad continued to home in on the idea of fantasy travel, this time working an American frontier theme into his always-glamorous wardrobe.
On the one hand, he worked the Victorian vibe of pioneer women into sheer lace dresses, high-necked blouses or voluminous taffeta numbers, which played well with his proclivity toward the romantic. Crafty touches like intricate cotton yarn knits added to the princess-in-homespun look.
On the other, the couturier took cues from cowboy attire, going from mainstays like raw indigo denim cut into jumpsuits or high-waisted trousers that had nothing casual about them to Western motifs, used as laser-cut leather appliqué on the lapels of smart blazers or as bold allover prints.
There is no shortage of brands imagining what post-pandemic glam might look like. But at a time when stepping out of one’s home feels like venturing into lands unknown, who other than Zuhair Murad could take the mottled coats of cattle and — believably — turn them into beaded lace motifs on Moroccan crepe blouses and dresses?